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a i Shy Fas |» nn Cale eu ees Ae “lt oe Avan Wee! (2) 
jhe. 43" “ . ee a rh ing fe 38 


ia SALE ak vols 
Cc EXHIBITION FROM THURSDAY, MARCH ELEVENTH 


a : “COLLECTION OF | 
f BERT eo 


NEW YORK CITY 


_ TO BE SOLD BY HIS ORDER 


CATALOGUED BY 


GUY EGLINGTON 


TO BE SOLD BY AUCTION 
WEDNESDAY EVENING 
MARCH SEVENTEENTH 

AT EIGHT’FIFTEEN 


THE ANDERSON GALLERIES 
[MITCHELL KENNERLEY, Presipent ] 


489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 
1926 


LIBRARY 1 

M.Knoedler& 

14 East 57th St 
New York 


SS 


SALE NUMBER 2046 
PUBLIC EXHIBITION FROM THURSDAY, MARCH ELEVENTH 


CAE 


MODERN ART 


COLLECTION OF 
ALBERT ROTHBART 


NEW YORK CITY 
TO BE SOLD BY HIS ORDER 


CATALOGUED BY 


GUY EGLINGTON 


TO BE SOLD BY AUCTION 
WEDNESDAY EVENING 
MARCH SEVENTEENTH 

- AT EIGHT’FIFTEEN 


THE ANDERSON GALLERIES 
[MITCHELL KENNERLEY, Presipent ] 


489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 
1926 


CONDITIONS OF SALE 


ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. ae 
The highest bidder to be the buyer. In all cases of disputed bids the decision | 
of the Auctioneer shall be final. 7 i: 


Buyers to give their names and addresses and to make such cash payments on ~ 


account as may be required, in default of which the lots purchased shall be | 


resold immediately. 4 
Purchases to be removed at the buyer’s expense and risk within twenty-four | 
hours from the conclusion of the sale, and the remainder of the purchase money | 
to be paid on or before delivery, in default of which The Anderson Galleries, 


Incorporated, will not be responsible for any loss or damage whatever, but the _ 
lot or lots will be left at the sole risk of the purchaser, and subject to storage | 


charges. 


All lots will be placed on public exhibition before the date of sale, for examina- — 
tion by intending purchasers, and The Anderson Galleries, Incorporated, will ~ 
not be responsible for the correctness of the description, authenticity, genuine-_ 
ness, or for any defect or fault in or concerning any lot, and make no warranty 
whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. 


If accounts are not paid and purchases removed within twenty-four hours of the — 


conclusion of the sale, or, in the case of absent buyers, when bills are rendered, | 


any sum deposited as part payment shall be forfeited, and The Anderson Gal- | 
leries, Incorporated, reserve the right to resell the lot or lots by either private | 
or public sale, without further notice, and if any deficiency arises from such 
resale it shall be made good by the defaulter, together with all expenses in- ~ 
curred. ‘This condition shall be without prejudice to the right of this Com- 
pany to enforce the sale contract and collect the amount due without such © 
resale, at its own option. | 
The Anderson Galleries, Incorporated, will afford every facility for the employ- | 
ment of carriers and packers by the purchasers, but will not be responsible — 
for any damage arising from the acts of such carriers and packers. | 
The Anderson Galleries make no charge for executing orders for their cus-_ 
tomers and use all bids competitively, buying at the lowest price permitted — 


by other bids. 


A Priced Copy of this Catalogue may. be obtained for One Dollar 


THE ANDERSON GALLERIES, INC. 
PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 


TELEPHONE REGENT 0250 CATALOGUES ON REQUEST — 


SALES CONDUCTED BY MR. F. A. CHAPMAN, MR. A. N. BADE AND MR. E. H. L. THOMPSON ity 


LETTER FROM MR. ROTHBART 
TO MR. KENNERLEY 


New Yorxk 
March 5, 1926 
Dear Mr. KENNERLEY: 


It occurred to me that it might interest the readers of this 
catalogue to know something of the reasons which prompt me to 
dispose of my art objects. 

This collection of modern paintings and sculptures was as- 
sembled by me during the last ten years, here and abroad, in 
the endeavor to give a tangible expression to my varying con- 
ception of beauty, and to create an atmosphere which would add 
rhythm and color to the humdrum of daily life. 

Now that I find my collection assuming larger proportions 
than the available space can accommodate, I am made to re- 
alize how dangerously near I am to the dividing line between col- 
lecting and hoarding. The best way out of this dilemma seems 
the auction room. It will give me the privilege of offering to 
the artists represented, the opportunity to make new friends in 
the homes of old and new admirers, and it will on the other hand 
permit me to indulge with fresh enthusiasm in that most en- 
joyable and thrilling game: the hunt for new prizes. 


Sincerely yours 


A. RoTHBART 


LETTER FROM MR. EGLINGTON 
TO MR. KENNERLEY 


New York 
March 6, 1926 


Dear Mr. KENNERLEY: 


When you asked me to catalogue Mr. Rothbart’s Collection, 
I consented without enthusiasm. Finding complimentary 
phrases for pictures which inevitably represent someone else’s 
taste is an unexciting pastime. ‘The enthusiasm is almost cer- 
tain to be forced, the words of critical appreciation so much 
schleim. 

Imagine my surprise and delight at being brought into the 
presence of a collection so personal, so devoid of all assump- 
tion, so playful as this. It has been a keen pleasure to watch, 
from picture to picture, the spirit of modern art taking different 
forms, from the almost overpowering masculine strength of 
Courbet to the joyousness and freedom of Branchard. 

I need not confess to you that the pictures which gave me the 
purest and most unmixed happiness were those of the young 
Americans. Branchard, Bluemner, Brook, Canadé, Gaylor, 
Hartley, Marin, Maurer, Sheeler, Stella, Sterne, Weber have 
' contributed to this collection a group of pictures that sings on 
the walls. Modest, in a day of aggressive self-assertion, the 
note that they strike rings so true that the world will soon have 
no choice but to listen. 

I only hope that those who come to buy at this sale will take 
as great a pleasure in the buying as Mr. Rothbart must have 
taken, or myself in the making of this little book. 


Sincerely yours 


Guy Eceiincton 


iF SALE WEDNESDAY EVENING, MARCH SEVENTEENTH, AT 8:15 
| i 


a NUMBERS 1-114 


MAX KLINGER 
GERMAN, 1857-1920 


I NUDE IN LANDSCAPE 
Etching. Size, 684 x 9 inches. 


ANDERS ZORN 
A 
a a ae ee NORWEGIAN, 1860-1920 


VALLKULLA Ho) 0, 
Asplund, No. 251. Second state. 
Etching. Signed 1912. Size, 12 x '784 inches. 


DUTCH 17TH CENTURY 


38 BIBLICAL SCENE 
Drawing im sepia. Inscription in upper left. Size, 8 x 1214 inches. 


\ 


FRENCH 18TH CENTURY 


4 LANDSCAPE WITH TREES 
Wash drawing. Size, 814 x 984 wmches. 


FRENCH EARLY 18TH CENTURY 
5 DON QUIXOTE AND SANCHO IN THE STABLE 


Fine crayon drawing. 
From the Peltzer Collection. 
Size, 10 x 18 inches. 


GUSTAVE. COURBET 


oa 


;; va FRENCH, 1819-1877 | : 4 
¥ | 49 6 LE PETIT PECHEUR pan, A W. panes ; 
A child fishing in a stream, cottages to right and left. Courbet- . 
esque cliffs loom in the distance above the fruit trees. 
Purchased from Mr. Bernheim Jeune, an authentication from 
whom accompanies the picture. | Pe eee na 
Oil on canvas. Size, 18 x 21 inches. : he eS 


ts fie eles cs GUSTAVE COURBET 
772 


FRENCH, 1819-1877 Wi. 

7 WOODLAND, ROCKS AND WATERFALL 
Sheer cliffs form a narrow ravine, through which a stream flows 4 
swiftly. In the distance, at centre, a waterfall. Much of Cour- 
bet’s grandiose conception is hidden by the too plentiful varnish, 
but it is plainly seen in the sky above and in the plan of the 


cliffs. As always, one is conscious of his enormous reserve of |— 
strength. 


Oil on canvas. Signed. Size, 25 x 21 inches. 
[SEE ILLUSTRATION | 


2 


[NUMBER SEVEN ]| 


on 


cof Hoesen Ay 


[NUMBER EIGHT ] 


CONSTANTIN GUYS 
FRENCH, 1805-1892 ; 
8 DEMOISELLE A VENDRE 7 


An overblown and heavily robed lady shows a disposition to re- 
veal more of her charms, while a convenient Apache keeps a look- 


out for the necessary consideration. In the rear, the suggestion 
of adoorway. A marvellous study in cool tones, most powerfully, 
even ferociously conceived. Guys at his most trenchant. 
Purchased from the John Quinn Estate. 

Water color. Size, 644 x 41% inches. 


why ees 


[SEE ILLUSTRATION | ! 


4 < 


ao Ru 


= 


HENRI MATISSE 


CONTEMPORARY FRENCH 


_ NUDE RECLINING 
= = Lithograph. Signed. Size, 101% x 15 inches. 


HENRI MATISSE 

. | CONTEMPORARY FRENCH 

_ 10 NUDE RECLINING ON SOFA 
7. . Drawn with superb ease throughout. One of Matisse’s finest 
lithographs. The ground covered with arabesques of a Persian 
carpet and wall hanging. 
Lithograph. Signed. Size, 2014 x 1614 inches. 


CONTEMPORARY FRENCH 
11 SALOME 


Three woodcuts in one frame, illustrative of a passage from Oscar 
Wilde’s play. Portrait of Salome in the centre, moods from her 
dance forming the wings of the triptych. 

Size of the three, 14 x 31 inches. 


MANGUIN 
CONTEMPORARY FRENCH 


12 VILLAGE AND HARBOR 
Houses clustering around a narrow inlet with hills behind. Loosely 
brushed in a manner pleasantly suggestive of Cézanne. Brilliant 
spots of red in the roof tops relieve the cool lavenders of the hills. 
Oil on canvas. Signed in lower left. Size, 9 x 11 inches. 


5 


13 


14 


15 


16 


_ J. VALMIER> 
CONTEMPORARY FRENCH 


TWO COLOR HARMONIES 
The first cool, suggestive of a still life, the second more powerful 
in its contrasts. Both are charmingly playful in their patterns. 


(2) 
Tempera on paper. Signed. Size, 7 x 54% and 7 x 5 mches. 


CSAKY 


WORKING IN PARIS 


STUDY IN PATTERNS 

Water color. Checkers of black and gray in the rug yield to red 
and white in the table, to be resolved in the white of the wall be-— 
yond. Into the checker pattern of the foreground a seated girl 
is cleverly fitted. Both this and the following are marvels of 
the sophistication that has followed Cubism. 

Signed. Size, 9 x 616 inches 


CSAKY 
WORKING IN PARIS 


THE CIRCULAR STAIRS 

Water color. Lady in mauve, standing on a balcony, is looking 
down on the vertical of a bright red-carpeted stairway that above 
circles into the pattern of a fan. 


Signed. Size, 9 x 6 inches. 


JEAN DE BRUNHOFF 
CONTEMPORARY FRENCH 


ST. TROPEZ 
Water color. Harbor frontage with café in middle ground and 
converging streets popularized by Utrillo. Sailing boats with 
furled sails in the harbor. Cool tones of blue and gray, hardly 
accented. Bold draftsmanship throughout. 

Signed and dated 1920. Size, 12 x 17 inches. 


6 


A es. % a — 


by _ LADISLAS MEDGYES 


- HUNGARIAN, WORKING IN PARIS | 
a7 “BACK VIEW FROM STUDIO 
~ Looking down the Rue du Faubourg St. Jacques, with the dome 


of the Val de Grace showing above the roofs. Contrasting hot 
i a al tones ae the picture an explosive quality that is char- 


-_ AUGUSTE HERBIN 
es ae FRENCH 


18 THE MOUNTAIN GORGE 

__ A typical example of one of the numerous phases that the later 
f searchers after pure form have provoked. Strongly influenced by 
Courbet. 
Oil on canvas. Signed. Size, 23 x 2813 inches. 


~ AUGUSTE HERBIN 


| CONTEMPORARY FRENCH 
19 CASSIS 
Landscape sloping down to a calm summer sea. In the fore- 
ground, trees, shrubs and a single white tombstone that echoes 
the white of a church spire further down the hill. Simply con- 
ceived throughout. 
Oil on canvas. Signed. Size, 231 x 29 inches. 


7 


Q WO. Hours PAUL STENAC 


20 VIEW OF THE SEINE 


- 21 


[NUMBER TWENTY | 


CONTEMPORARY FRENCH 8 Q b—O 
¥ 


Chinese ink on paper. A study, evidently for a large composition, 
executed in tones of Chinese ink. A large tree occupies the fore- 
ground, beneath the branches of which the river and the farther 
shore are delicately suggested. 

Signed. Size, 36 x 29 inches. 


CERIA - 
CONTEMPORARY FRENCH 


HARBOR OF ST. TROPEZ 

Quay and houses to right, fishing, smacks down sail in the hot 
afternoon sunlight. A stunning study in terra cotta and ultra- 
marine, with upward sweeping bands of white in the sails, against 
an intense blue sky. 

Oil on canvas. Signed. Size, 18 x 20 inches. 


8 


f [NUMBER TWENTY-TWO | 


JEAN METZINGER 


CONTEMPORARY FRENCH 


' 22 SIESTA 
Young girl in burnt-orange frock takes tea in the garden. Bor- 
der of nasturtiums at right, wooded landscape beyond. The 
whole pervaded by a dream-like atmosphere. A still life of book 
and lemon on table at left contains delicate surprise. 
Oil on canvas. Signed. Size, 25 x 18 inches. 


[SEE ILLUSTRATION | 


9 


23 


[NUMBER TWENTY-THREE | 


KISLING 
CONTEMPORARY FRENCH 


PORTRAIT STUDY 

Lady in black velvet, standing before an open doorway, the back- 
ground a deep ultramarine, brightened in the woodwork with 
shades of red and lighter blue. The brilliant spot of Chinese 
white at the opening of the gown is characteristic of Kisling’s 
love of the dramatic. 

Oil on canvas. Signed. Size, 36 x 25 inches. 


[SEE ILLUSTRATION | 


10 


[NUMBER TWENTY-FOUR || 


MAURICE DE VLAMINCK 
CONTEMPORARY FRENCH 


24 STILL LIFE 
Tulips in a vase with pitcher, ewer and wineglass on a blue table. 
Boldly and thinly brushed. The flowers glow pleasantly against 
a turquoise ground. 
Oil on canvas. Signed. Size, 21 x 25 inches. 


[SEE ILLUSTRATION | 


11 


| 


et 


[NUMBER TWENTY-FIVE 


MAURICE UTRILLO 


Ay tl 
25 STREET SCENE VN Gee 


Typical French street with shuttered white buildings ; 
gardens. ‘The inevitable bistro to right. Spots of blue and 
green in the windows relieve the pleasant monotony of the facades. 
Oil on canvas. Signed. Size, 1214 x 15 inches. 


C/ 
#) $0. CONTEMPORARY FRENCH 1% 
Lee 


[SEE ILLUSTRATION | 


12 


[NUMBER TWENTY‘SIX | 


ry 


JULES PASCIN ff 


bE bal 
% 6-0 \ RUSSIAN, WORKING IN PARIS ' 


ye 26 SEATED MODEL IN CHEMISE 
| Semi-draped figure in opalescent tones, the hair and linen che- 
b mise most exquisitely painted. Characteristic of Pascin’s paint- 
| ings is the life which pervades the entire surface of the canvas. 
Purchased from the John Quinn Estate. 
Oil on canvas. Signed. Size, 25 x 81 inches. 


- [SEE ILLUSTRATION | 


13 


/ ; hAH uC". 


27 


28 


29 


30 


EKEGARDH 
CONTEMPORARY SWEDISH 


THE PROMENADE 


Afternoon scene on a terraced avenue, with gardens beyond 


Touches of white in the dresses lend a sparkle of gaiety to the : 


group of promenaders in the foreground. 
Oil on canvas. Signed. Size, 23 x 28 inches. 


H. H. NEWTON 
CONTEMPORARY ENGLISH 


LANDSCAPE 


Hillside with pine trees, a green tone with touches of red pre- 


vailing. Touches of white in the sky. 
Oil on canvas. Signed. Size, 111% x 1514 inches. 


CONSTANTIN SOMOV 
CONTEMPORARY RUSSIAN 


AN OLD BALLET 


Ballerino stands at point, held by her partner, against a romantic 


setting. In the foreground, the gentlemen of the orchestra are 
seen in half light. The artist has found intense enjoyment in 
catching the effects of light on the filmy textures of the ballet 
skirt, and in contrasting these with the brilliant red of the 
curtain. 

Oil on canvas. Signed and dated 1923. Size, 214% x 16 mches. 


S. KONENKOV 
CONTEMPORARY RUSSIAN 


HEAD OF A PEASANT WOMAN 


Carved directly out of a tree trunk with that delightful playful- q 


ness which is only possible to one who has a perfect understand- 
ing of his medium. Simple and benign, the forms have an as- 
tonishing bigness. — 

Wood sculpture, Signed. Height, 1414 inches. 


14 


EE TNT BEEN ROI i BIOTA TR EI Nb es RS nT oe 


| 
| 
| 
| 


34 


S. OPITZ 
CONTEMPORARY AUSTRIAN 


DANCING NYMPHS 

Two figures in high relief, set against a rhythm of draperies, one 
body repeating the other in opposite motion. Strongly stylized 
throughout. 

Wood panel. Signed and dated 1923, Size, 1784 x 281% inches. 


S. OPITZ 
CONTEMPORARY AUSTRIAN 


FIGURE STUDY 
Draped dancing figure, strongly influenced by Archipenko. 
Wood sculpture. Signed and dated 1922. Height, 1814 inches. 


EDWIN SCHARFF 
CONTEMPORARY GERMAN 


TWO WOMEN 

Study in low relief. The two figures balance, both in point of 
line and color. The one on the left, her body turned, is strongly 
accented; the right is toned down to the lowest possible relief. 
Coloristically the effect is most charming, the figures beautifully 
spotted. 

Bronze relief. Size, 111% x 814 inches. 


A. FENOSA 
CONTEMPORARY FRENCH 


THREE GRACES 
Bronze. Signed. Height, 10 inches. 


15 


35 


36 


37 


38 


39 


40 


GEORG KOLBE 
CONTEMPORARY GERMAN 


YOUNG GIRL a! 
Exquisite study of youth. The slender body rises with the — J 
simplest of modulations, to the finely poised head. oe ina 
its outlines and superb in its lift. ; 
Bronze. Signed. Height, 1614 inches. 


GEORG KOLBE 
CONTEMPORARY GERMAN 


STUDY 

Drawing in wash for his series of the dance. Characterized by 
charming ease and suavity throughout. Wash on paper. 
Signed. Size, 1814 x 10 inches. | 


EMIL ORLIK 
CONTEMPORARY AUSTRIAN 


ARABS BENEATH PALM TREES BY THE SEA 
Dry-point. Signed and dated 1915. Size, 11144 x 734 mches. 


MIGUEL COVARRUBIAS 
CONTEMPORARY MEXICAN 


CARICATURE OF EVA LE GALLIENNE IN “THE SWAN” 
Water color. Signed. Size, 914 x 141% inches. 


AWA TSIREH 
CONTEMPORARY AMERICAN INDIAN 


HOPI BASKET DANCE 
Water color. Size, 11 x 1814 inches. 


AWA TSIREH 
CONTEMPORARY AMERICAN INDIAN 


CEREMONIAL DANCE 
Water color. Size, 914 x 1814 inches. 


16 


AWA TSIREH 
CONTEMPORARY AMERICAN INDIAN 


FOUR FIGURES IN CEREMONIAL DANCE 
Water color.. Size, 9 x 1514 inches. 


AWA TSIREH 
CONTEMPORARY AMERICAN INDIAN 


CORN DANCE _ 
Water color. Size, 1614 x 28 inches. 


TONITA PENA 
CONTEMPORARY nwiGan INDIAN 


WAR DANCE — 
Water color. Signed. Size, 131% x 10 inches. 


TONITA PENA 
CONTEMPORARY AMERICAN INDIAN 


CEREMONIAL DANCE 
Water color. Size, 814 x 141% inches. 


--'TONITA PENA 
CONTEMPORARY AMERICAN INDIAN 


WAR DANCE 
Water color. Size, 714 x 131% inches. 


> TONITA PENA 
CONTEMPORARY AMERICAN INDIAN 


EAGLE DANCE 
Water color. Signed. Size, 7% x 1614 inches. 


TONITA PENA 


CONTEMPORARY AMERICAN INDIAN 


CORN DANCE 
Water color. Signed. Size, 12 x 22 inches. 


17 


48 


49 


50 


51 


32 


53 


TONITA PENA 
CONTEMPORARY AMERICAN INDIAN 


MEN IN THE CORN DANCE 
Water color. Signed. Size, 61% x 17 wmches. 


TONITA PENA 
CONTEMPORARY AMERICAN INDIAN 


COMANCHE DANCE 
Water color. Size, 71% x 20 inches. 


TONITA PENA 
CONTEMPORARY AMERICAN INDIAN 


EAGLE DANCE 
Water color. Signed. Size, 914 x 138 inches. 


TONITA PENA 
CONTEMPORARY AMERICAN INDIAN 


BOW AND ARROW DANCE 
Water color. Signed. Size, 714 x 181% inches. 


TONITA PENA 
CONTEMPORARY AMERICAN INDIAN 


CEREMONIAL DANCE 
Water color. Signed. Size, 11 x 191% inches. 


LEON GASPARD 
CONTEMPORARY TAOS SCHOOL 


AN APACHE CHIEFTAIN 


A plein-air study of an Indian in a sombrero, with a suggestion 


of people in the background. Vivid ultramarine coat, against a 
greenish ground. Boldly brushed. 
Canvas. Signed and dated 1919. Size, 131% x 10 inches. 


18 


RALPH W. MEYERS 
CONTEMPORARY AMERICAN, TAOS SCHOOL 


SUNRISE 

The sun rises like a skyrocket behind ultramarine hills, the desert 
in the foreground being still barely light. 

Board. Signed and dated 1923. Size, 9144 x 1114 inches. 


VICTOR HIGGINS 
AMERICAN, TAOS SCHOOL 


THE WHITE CIRCLE 

Ceremonial dance in an open space bordered by tall pines. 
Stream running through the middle, centre. The figures boldly 
brushed in white, almost suggesting low relief. Sunlight ren- 
dered in tan and _yellowish-green tones. 

Canvas. Signed. Size, 24 x 27 inches. 


ROBERT W. SATTERFIELD 
CONTEMPORARY AMERICAN 


THE HAUNTED HOUSE ; 
Frame house of desolate aspect on the banks of the Hudso 
River, the far bank peopled with wharves, a blasted oak at the 
left. Strongly influenced by the school of Burchfield. 

Pastel and water color. Signed. Size, 20 x 15% mches. 


EUGENE HIGGINS 
CONTEMPORARY AMERICAN 
VAGRANTS 
Seated laborer with wife and child, against a suggestion of a 
wall. Rich texture of red in the woman’s dress, against a 


greenish-blue ground. 
Canvas. Signed. Size, 9 x 7 inches. 


1g 


of 


59 


60 


61 


~ JEROME MYERS 
- CONTEMPORARY AMERICAN ~— 


STREET SCENE | ASTHvie Bee 


~Chudren seated on and playing around a cal a lumber in a | 


quiet street. A lumber yard or factory at back. To right, a — 


woman nursing her child. The drab tones of the street and q 
buildings charmingly relieved by the spots of lavender and apricot ~ 


in the dresses of the children. Glints of gold panels through 4 
the composition at numerous points. am 
Canvas. Signed and dated 1922. Size, 1414, x 17Y, inches. 


STUART DAVIS 
CONTEMPORARY ‘oan eae rE 


STREETS 

Crowd study in Davis’s earlier manner, with a cee of archi- 
tecture in the background. 

Water color. Signed and dated 1912. Size, WR x 1914 iicheot 


STUART DAVIS 
CONTEMPORARY AMERICAN 


PROFESSIONAL LADIES 


_ Hard faces passing down a hard street. Interesting, as hinting 


at Davis’s later development, in its sharpness of outline. 
Water color. Signed and dated 1912. Size, 141% x 11 inches. 


E. DIMOCK 
CONTEMPORARY AMERICAN 


TWO WATER COLORS 
Promenades in town and country. . Color notes, charming in their 
unconcern and freedom of execution. The landscape in the coun- 


try scene admirably set down in contrasting washes of green 4 


and pink. (2) 
Signed and dated 1924, Size, 714 x 834 inches. 


20 


[NUMBER SIXTY-TWO_| 


GUY PENE DU BOIS 


725°. : 
CONTEMPORARY AMERICAN 
62 TETE A TETE 
| A study in evening dress and evening boredom, in the artist’s 
j most pungent manner. ‘The pervasive turquoise-blue, drenching 
even the boyish bob of the lady and the time-worn eyes of her 
escort, lends the picture a death’s head tinge that is only relieved 
by incisiveness of draughtsmanship. An authentic essay in mod- 
ern satire. 
Oil on panel. Signed and dated 1925. Size, 21 x 1714 inches. 


[SEE ILLUSTRATION | 


21 


~ 2 > ee 
= 
“ ee = 


ALBERT STERNER | 
| CONTEMPORARY ence 
638 A SOUVENIR OF THE NINETIES 


Portrait of a young girl seated on a Louis XV chair. 
Lithograph. Signed. Size, 14 x 814 inches. | 


GEORGE P. ENNIS 
CONTEMPORARY AMERICAN 


64 NORTHERN BAY 
Small sailing boats running through a narrow strait, cliffs fallmg _ S| 
sheer into the water. - | 


Water color. Signed. Size, 151% x 191% inches. 


NAN WATSON 


CONTEMPORARY AMERICAN 


65 FLOWERS AND FRUIT 


Apples, pears and grapes grouped around a vase of flowers on 
a flowered background. 


Canvas. Signed. Size, 138% x 171% inches. 


-* WALTER DEAN GOLDBECK 
a Eas : 
66 WOODLAND PATH OAAAUAK | “| 

Interlacing trees form interesting ‘arabesques, in the spates of 


which are passages of translucent blue and green. 
Canvas. Signed. Size, 2114 x 18 inches. 


CONTEMPORARY AMERICAN 


: 22 


diiniie Vnkiwht nie ‘ 
‘> P “ rc 
7 — “ 4 - ' sou ~~ 4, + 


aa me — 
Co Saree 


67 


68 


69 


FRANK MORSE ROHMEL 
CONTEMPORARY AMERICAN 


NORWEGIAN WATERS 

Huts clustering around an inlet, with a line of hills beyond. A 
mosaic of red and blues. 

Board. Size, 131% x 1514 inches. 


SIDNEY LAUFMANN 
CONTEMPORARY AMERICAN 


GROUP OF TREES 

Study in cool tones of blue, green and brown, to left, a low brown 
wall with suggestion of house beyond. 

Canvas. Signed. Size, 25 x 201% inches. 


ALEXANDER BROOK 
CONTEMPORARY AMERICAN 


THE VALLEY 

A cluster of houses, barely seen between the trees, with hills 
beyond; orchards in the foreground. Passages of rose, bluish- 
green and yellow, framed by the black of fences and tree trunks, 
lend gaiety to the picture, which grows calmer as it reaches the 
more distant hills. The olive-green of the furthermost hill is 
admirably felt. 

Canvas. Signed. Size, 1914 x 291% mches. 


23 


[NUMBER SEVENTY | 


bial 


GIFFORD BEAL 
CONTEMPORARY AMERICAN 


} 
40 VILLAGE REUNION er Daan Dw b 
New England scene with village green, white church beyon 
aI OD. “ Groups of villagers in old fashioned costumes. Harmony of cool 


tones, green and a slate-blue prevailing. 
Panel. Signed and dated 1923. Size, 1744 x 881% inches. 


[SEE ILLUSTRATION | 


GIFFORD BEAL 
CONTEMPORARY AMERICAN 


71. TROPICAL LANDSCAPE 
A study in intensities of green and purple. ‘Three palms frame 
a plaster hut by the river side, small boats in the foreground. 
Water color. Signed and dated °25. Size, 14 x 1914 mches. 


24 


a | 


Leet 


WR ot on 


a 


f gribires2s ci Nuaer SEVENTY-TWO | 


a 


ee Le a en ee ee 


Rip ge tare 


EDWARD BRUCE aes 
CONTEMPORARY AMERICAN e 


72 ROMAN AUTUMNAL LANDSCAPE 


Hills ascending in a hemi-cycle, patterned with bare trees. A 
study in terra cotta, relieved by turquoise-blue. 
Canvas. Signed. Size, 22 x 441% inches. 


be 
: [SEE ILLUSTRATION | 


25 


73 


74 


15 


76 


7 


Sa ee 
a 
at: ; 


PAUL BURLIN | 
CONTEMPORARY AMERICAN 


HILLSIDE VILLAGE 


Houses clustering in the lea of a hillside. Subdued tones, red ‘ 


predominating. 
Board. Signed. Size, 914 x 111% inches. 


LOUIS LOZOWICK 
CONTEMPORARY AMERICAN 


SPECTRE OF NEW YORK 


Spiral patterns cut the perpendicular in ascending motion. 4 
Mechanistic vision of skyscrapers in hard outline, a contrast — 
rigidly enforced in blue and yellow against a Chinese red sky. 9 


Canvas. Size, 2144 x 17 mches. 


WILLIAM GRIMM 


CONTEMPORARY GERMAN 


NUDE : 
Tones of yellow in the flesh against a red background. 
Canvas. Signed. Size, 25 x 31 inches. 


JOSEPH DE MARTINI 
CONTEMPORARY AMERICAN | 


STILL LIFE 

Pears and apples in an earthenware bowl with bluish napian in 
the Cézannesque tradition. 

Board. Signed. Size, 1214 x 161% inches. 


ABRAHAM WALKOWITZ 
CONTEMPORARY AMERICAN 


BATHERS 


Group of nudes reclining after the bath, trees and a river behind. 


The whole composition very powerfully constructed in a sculp- _ 
turesque fashion. ‘The group to the right conceived with especial — 


beauty. 
Monotype. Signed. Size, 131% x 141% inches. 


26 


aR en 2) SNBtote eUBRIR eT YO. ME eT me aS ey aD ee ee ee —— 


[NUMBER SEVENTY-EIGHT | 


MARSDEN HARTLEY 
CONTEMPORARY AMERICAN 


ARROYO HONDO VALLEY 

Brownish-yellow hills part to disclose a blue hill, boldly accented 
in white. One of the finest of the New Mexican series. 

Pastel. Signed and dated 1918. Size, 1634 x 154% inches. 


MARSDEN HARTLEY 
CONTEMPORARY AMERICAN 


NEW MEXICAN COLOR SYMPHONY 

A hill country with a suggestion of trees on the lower slopes. 
Color symphony of pink and yellow, deepening to purple in the 
diagonal valleys. Jewel-like quality in the pigment. 

Oil on board. Size, 814 x 11144 inches. 


MARSDEN HARTLEY 


CONTEMPORARY AMERICAN 


MAGIC VISTA 

Harmony in green and blues. Low hills rising from the plain 
into a brilliantly lighted sky. From the New Mexico series. 
Pastel. Signed and dated 1918. Size, 171 x 27 inches. 


27 


81 


82 


83 


84 


MAX WEBER 
CONTEMPORARY AMERICAN 


NUDE, HALF LENGTH 


Delicate conception in virtual monotone. - Pervading tone of slate- ; 


blue, scarcely accented by the greenish-yellow of the hair. 
Water color. ees oe 43/4 x e inches. art 


MAX WEBER 
CONTEMPORARY AMERICAN 


SEATED WOMAN IN BLUE 
Half length figure in blue dress against a reddish ‘tan ele 
Water color. Signed. Size, 434 x pe inches. 


MAX WEBER 
CONTEMPORARY AMERICAN 


STILL LIFE a 
Vases and a lemon on a plain, square Sah in pohauat tones, — 
save for the strong contrast of the green vase and lemon. | 
Canvas. Signed. Size, 1914 x 1514 inches. 


MAX WEBER 
CONTEMPORARY AMERICAN 


LANDSCAPE 4 
Hill sloping down to lake’s edge in the foreground, with small 4 
sailboat to right. Emerald-green and red in the ground form a 
subdued color scheme that is pleasantly relieved by the changing — 
blue of the water. | 
Inscribed on the back: “A mon ami Mr. Rothbart. Max Weber. — 
Nov.cL2,.1926-%, 

Canvas. Signed. Size, 154 x 191% inches. 


28 


[NUMBER EIGHTY-FIVE | 


ALFRED MAURER 


CONTEMPORARY AMERICAN 


85 GIRL AGAINST A COBALT-BLUE GROUND 
Characteristically elongated forms, at once firmly and ae ctally 
outlined. Intense color contrast of red against cobalt-blue 


ground. 
Board. Size, 26 x 18 inches. 


[SEE ILLUSTRATION ]_ 


29 


[NUMBER EIGHTY-SIX | 


WALT KUHN 
CONTEMPORARY AMERICAN 


86 FLOWER PIECE 
A study in poppy-red and cornflower blue, against a translucent 
slate-gray ground. The cool stroke of green on the leaf is par- 


ticularly happy. 
Panel. Signed. Size, 138 x 91% inches. 


[SEE ILLUSTRATION | 


30 


= 


ner 


a) 


nie 


ea 


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t 


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r 
CO 
° 


87 


[NUMBER EIGHTY-SEVEN | 


JOHN MARIN 
CONTEMPORARY AMERICAN 


COLOR VIBRATION IN LANDSCAPE 


Intricate color play carried over a wide perspective. View from 
hillside over fields stretching away to the horizon. The color sen- 


sation is nervously set down. 
Water color. Signed and dated 1913. Size, 14 x 16 inches. 


[SEE ILLUSTRATION | 


JOHN MARIN 
CONTEMPORARY AMERICAN 


PINE TREES 

Marvellous and delicate washings of greens, relieved by tones of 
lavender. The foreground exquisitely conceived. Characteristic 
of the finest work of Marin’s middle period. 

Water color. Signed and dated 1918. Size, 19 x 154% inches. 


31 


89 


[NUMBER EIGHTY-NINE] 


4 * 


MAURICE STERNE 
CONTEMPORARY AMERICAN 


BURMESE DANCING GIRL 
A study in spiral motion, expressing in simple and convincing — 
terms the rhythm of the dance. Cool tones predominant, the 4 
lavender of the bodice being exquisitely seen against the mustard- 

yellow of the skirt. i 


Tempera. Size, 1614 x 714 inches. Pee | 


[SEE ILLUSTRATION | iitos saan @ 


b2 


I Re SE er mene aoe 


: 
' 
i 
: 


[NUMBER NINETY | 


JOSEPH STELLA 
CONTEMPORARY AMERICAN 


INDUSTRIAL ACTIVITY 


9 Black factories, in outline at once sinister and elegant, seen 
against a violent sky of red and yellow, cooling to blue. 
Pastel. Signed. Size, 16 x 15 inches. 


[SEE ILLUSTRATION | 


303 


91 BACK YARD 


OZ 


93 


CHARLES SHEELER | 


CONTEMPORARY AMERICAN 


Study in the descending planes of roofs reduced to simple terms. — 
Tempera. Size, 11 x 81% inches. | = 


CHARLES SHEELER 
CONTEMPORARY AMERICAN 


A BLACK PITCHER 
Fruit and glass on a table rendered in strong contrasts of black 
and white; the form of the pitcher has a splendid amplitude which _ 
is repeated in the apple. 

Crayon drawing. Signed and dated 1921. Size, 16 x 15 inches. 


CHARLES SHEELER 
CONTEMPORARY AMERICAN 


VASE WITH BLACK FLOWERS 

Black and white on vermilion ground. A study in reflected color, 
the black carnations taking their color from the vermilion of 
the table. 

Crayon and tempera. Signed and dated 1920. Size, 14 x 101% qi 
inches. 3 7 


34 


[NUMBER NINETY-FOUR |] 


CHARLES SHEELER 


CONTEMPORARY AMERICAN 


of S41LL LIFE 


White pitcher, apples and dark green wineglass. An exquisite 
study in three tones. The “Immaculate School” at its most 
aristocratic, 


Pastel. Signed and dated 1923. Size, 1514 x 111% inches. 
[SEE ILLUSTRATION | 


B35 


95 


96 


Di 


EMILE BRANCHARD 
CONTEMPORARY AMERICAN 


KNEELING NUDE 


Ivory flesh tones against an orange ground, framed ES a red 


curtain. Miniature with impeccable sense of scale. 
Canvas. Signed. Size, 5 x 8% inches. 


EMILE BRANCHARD 
CONTEMPORARY AMERICAN 


THE MOUNTAIN RANGE ee a 
Dense green pine forest grows up the hill at the right and fringes q 
the base of golden-brown mountains to the left. The sky bril- a 
hantly lighted. 4 
Board. Signed. Size, 11 x 221% inches. 


EMILE BRANCHARD 
CONTEMPORARY AMERICAN 


THE STONE FENCE 

Playful composition of rocks and trees and rolling country, a 
stone wall which all but divides it forming delightful pattern. 
Astonishing in its ease and whimsy. 
Canvas. Signed. Size, 11 x 151% inches. 


36 


EMILE BRANCHARD 
CONTEMPORARY AMERICAN 


98 WINTER LANDSCAPE 
A delicate miniature in ivory and pale turquoise. 
the stream set down with unerring precision. 
Board. Signed. Size, 5 x 9 inches. 


| SEE ILLUSTRATION | 


37 


The tone of 


NUMBER NINETY-NINE | 


VINCENT CANADE 
CONTEMPORARY AMERICAN 


99 THE MOUNTAIN ROAD 


Diverging paths of a moor seen against a sky of turquoise-blue ~ 


banded with a single white cloud: The forms of the hills admir- 


ably observed. 


Board. Signed. Size, 714 x 12 inches. 


[SEE ILLUSTRATION | 


38 


mrewrepreeree 


acti 


101 


WOOD GAYLOR 


CONTEMPORARY AMERICAN 


» 100 EN DESHABILLE 


Girl in orange chemise seated on a blue stool, against a ground 
of slate-blue, merging into gray. Delicately drawn, the tones 
finely seen throughout. } 

Canvas. Signed and dated 1917. Size, 914 x 5 inches. 


- OSCAR BLUEMNER 


CONTEMPORARY AMERICAN 


DISTRESS 


Dejected figure of a man in an empty restaurant. Browns and 
reds, with accents in cool green. 
Water color. Signed. Size, 9 x 121% inches. 


OSCAR BLUEMNER 


CONTEMPORARY AMERICAN 


102 AGE AND FATE-WORN HOUSES 


Gabled houses bordering a narrow road that leads down to the 
sea. The gray of the road, as it approaches the b-ue water, has 


fine quality. 
Water color. Signed. Size, 121% x 91% inches. 


39 


103 LANDSCAPE WITH BARN 


104 


[NUMBER ONE HUNDRED AND THREE ]| 


OSCAR BLUEMNER 


CONTEMPORARY AMERICAN 


Brilliant red barn against ultramarine sky, the tree isolated by 
the coldness of its greens. 


Water color. Signed. Size, 914 x 12% mches 


[SEE ILLUSTRATION | 


OSCAR BLUEMNER 
CONTEMPORARY AMERICAN 


LANDSCAPE IN GREEN AND RED | 

An interesting contrast with the preceding painting, which uses 
similar materials. | 
Water color. Signed. Size, 914 x 1214 inches. 


40 


{0 


105 


[NUMBER ONE HUNDRED AND FIVE] 


GASTON LACHAISE 
CONTEMPORARY AMERICAN 


DRAPED FIGURE 
Graceful standing figure, strongly stylized. 
Bronze. Signed and dated 1917. Height, 13% inches. 


[SEE ILLUSTRATION | 


41 


[NUMBER ONE HUNDRED AND SIX | 


FLORENCE LUCIUS 


CONTEMPORARY AMERICAN 


4 
2 


106 STANDING NUDE | 


Girl with slightly bent head, resting her weight on the left leg, her 


hands clasped behind her. Powerfully modelled. 
Bronze. Signed. Height, 28 inches. | 


[SEE ILLUSTRATION | 


42 


- eo. S 


THOMAS VIGIL © 


; oe “CONTEMPORARY AMERICAN INDIAN 


BUFFALO DAN CE 
Water color. Saye Size, 914 x 191% inches. 


THOMAS VIGIL 


CONTEMPORARY AMERICAN INDIAN 


ide 108 HARVEST DANCE 


La 


f.: ei Water color. | Size, 914 x 201% inches. 


FRED KAPOTIE 


CONTEMPORARY AMERICAN INDIAN 


Water color. Size, 8% x 16 inches. 


VELINO SHIJE (MAH PE WI) 
“CONTEMPORARY AMERICAN INDIAN 


qa 110 TRIBAL DANCE 
i _ Water color. Signed. Size, 111% x 181% inches. 


VELINO SHIJE (MAH PE WI) 
CONTEMPORARY AMERICAN INDIAN 


111 EAGLE DANCE 7 
Water color. Signed. Size, 7% x 101% inches. 


i) 


Two dancers in bird costume, accompanied by tom-toms. 


[NUMBER ONE HUNDRED AND 


VELINO SHIJE (MAH PE WI) . 
CONTEMPORARY AMERICAN INDIAN r 


112 WAR DANCE | 
Water color. Signed. Size, 1014 x 201% inches. 


[SEE ILLUSTRATION ] 


VELINO SHIJE (MAH PE WI) 
CONTEMPORARY AMERICAN INDIAN 


118 WAR DANCE 
Water color. Signed. Size, 9% x 201% inches. 


44 


[NUMBER ONE HUNDRED AND FOURTEEN] 


‘ 


WI) 


VELINO SHIJE (MAH PE 


CONTEMPORARY AMERICAN INDIAN 


114 CORN DANCE 


inches. 


21 x 283/, 


1Ze, 


S 


Signed. 


Water color 


. 


. 


[SEE ILLUSTRATION | 


45 


This catalogue designed by The Anderson Galleries | 
Composition and press-work by — , 
Publishers Printing Company, New York 


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